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The question asks for two explicit details about the physical appearance of the cheetah cubs. In the final sentence of the extract, the writer mentions: 1) 'their small size' and 2) 'their black tear-track markings' which are described as 'prominent'. Identifying any two of these visual features yields the full 2 marks.

Award 1 mark for each correct detail identified, up to a maximum of 2 marks: - Small (size) - Black markings / 'tear-track' markings - Prominent / clear markings. Reject: references to behavior (e.g., 'playfully tumbling') as this does not describe their physical appearance.

To gain full marks, candidates must identify four distinct points about the writer's physical challenges and the atmosphere of the forest, using their own words rather than direct quotation. Possible points include: 1. Physical difficulty of the terrain: The path is steep and muddy or slippery, making it hard to maintain footing. 2. Sensory physical strain: The air is humid, dense, and smells of decay, which makes breathing physically demanding. 3. Auditory environment: There is a powerful, deep rumbling sound from an unseen river below. 4. Isolating or eerie atmosphere: The incoming fog creates a visual barrier and a muffled, spooky quietness. 5. Feelings of isolation or intrusion: The writer feels completely disconnected from the modern world and feels like they do not belong there. 6. Fear or alarm: A sudden cracking noise scares the writer, causing an immediate physical reaction of panic and suspension of movement. Award 1 mark for each point described, up to a maximum of 4 marks.

Award 1 mark for each valid experience described, up to a maximum of 4 marks. Accept: Points must be written in the candidate's own words as far as possible. Clear understanding of the physical challenges (such as slippery ground, hard to breathe) and the atmospheric conditions (such as fog, eerie silence, isolating environment, sudden fright). Reject: Direct, long quotes from the text without interpretation or attempts to paraphrase. Points that are repeated or not supported by the passage.

To answer this question successfully, you need to identify at least five distinct feelings or reactions experienced by the writer and support each with an appropriate textual reference or quote. 1. Paralysis and Shock: The writer is physically stopped in their tracks by the sound, shown by 'I froze, my breath catching in my throat.' 2. Physical Dread: The physical reaction to seeing the wolf is described as 'made my skin prickle with sudden, icy sweat.' 3. Altered Perception of Time: The sheer shock makes time feel like it has slowed down, evidenced by 'Time dilated; every second stretched into an eternity.' 4. Conflicting Emotions of Terror and Awe: The writer feels a mixture of fear and wonder, described as a 'paradoxical mixture of raw, primal terror and profound, breathless awe.' 5. Appreciation of the Wolf's Power: The writer feels respect for the animal's wild beauty, calling it a 'creature of pure, untamed majesty.' 6. Vulnerability and Helplessness: The realization of being powerless is captured in 'I was entirely at its mercy.'

Award 1 mark for each valid point explained, up to a maximum of 5 marks. Each point must be supported by a relevant quote or close reference to the passage. Point 1 (Paralysis/Apprehension): The writer feels physically frozen or breathless with anticipation (Evidence: 'I froze' / 'my breath catching in my throat'). Point 2 (Physical Dread): The writer experiences physical symptoms of fear (Evidence: 'my skin prickle with sudden, icy sweat'). Point 3 (Distorted Time): The writer feels that time has slowed down due to the tension (Evidence: 'Time dilated' / 'every second stretched into an eternity'). Point 4 (Awe and Admiration): The writer is deeply impressed by the wolf's appearance and nature (Evidence: 'profound, breathless awe' / 'pure, untamed majesty'). Point 5 (Raw Terror): The writer experiences basic, instinctive fear (Evidence: 'raw, primal terror'). Point 6 (Vulnerability): The writer realizes they are completely powerless in the presence of the predator (Evidence: 'entirely at its mercy'). Accept alternative phrasing that captures these key feelings/reactions, provided they are supported by direct quotes or close paraphrase.

An exemplar response would analyze the following key aspects of language and structure:

**1. Use of Structural Contrast and Narrative Journey:**
- The passage opens with a bold, defiant statement ("We are the architects, we are the designers..."), establishing immediate pride before diving into the chronological struggle of his childhood. This structural contrast emphasizes his triumphs over adversity.
- The narrative moves from the past (the rigid, unaccommodating education system of the 1960s/70s) to the present (his success as a poet, novelist, and university professor), demonstrating that dyslexia is not a barrier to intellectual and creative achievement.

**2. Conversational and Inclusive Tone (Direct Address):**
- Zephaniah uses direct address ("If you're dyslexic...", "So don't be hard on yourself") to create an intimate, supportive bond with the reader, especially young dyslexic individuals who may feel marginalized.
- The collective pronoun "we" establishes a sense of solidarity and community, reframing dyslexia from an isolating individual deficit to a collective, powerful identity.

**3. Linguistic Techniques and Metaphorical Language:**
- **Metaphor:** He describes dyslexic people as "architects" and "designers," terms associated with high intelligence, planning, and artistry, directly challenging the traditional association of dyslexia with low intelligence.
- **Anecdotes and Dialogue:** He uses direct speech to recreate his childhood interactions with teachers ("'Who do you think you are?'"), showcasing the ignorance and hostility he faced. This generates pathos and highlights the systematic failure of the school system.
- **Rhetorical Questions:** The question "So what's dyslexia?" is followed by a simple, empowering explanation, demystifying the condition and stripping away its clinical stigma.
- **Humour and Irony:** His ironic observation that "local Borstal" was where his peers ended up, while he was invited to a literary meeting there, highlights the institutionalized pathways for misunderstood youth.
- **Colloquialism:** Phrases like "you've got it going on" and "conquering the world" inject a youthful, positive energy that makes his message highly engaging and reassuring.

This question assesses AO2: Explain, comment on and analyse how writers use language and structure to achieve effects and influence readers, using relevant subject terminology to support their views.

**Level Descriptors (12 Marks):**

* **Level 5 (11-12 marks):**
- Perceptive and assured analysis of how the writer uses language and structure to present his experiences and attitudes.
- Discriminating selection of relevant textual references to support points.
- Sharp, sophisticated, and cohesive understanding of the effects of language and structure, using accurate subject terminology.

* **Level 4 (9-10 marks):**
- Thorough and detailed analysis of how the writer uses language and structure.
- Carefully selected references to support points.
- Clear, analytical focus on the effects of language and structure, using relevant subject terminology.

* **Level 3 (6-8 marks):**
- Clear explanation of how the writer uses language and structure.
- Appropriate selection of references to support points.
- Clear understanding of the effects of language and structure with relevant subject terminology used.

* **Level 2 (3-5 marks):**
- General, straightforward explanation of some features of language and structure.
- General references to the text.
- Some awareness of language and structural effects, though terminology may be basic or limited.

* **Level 1 (1-2 marks):**
- Basic, emerging comments on the text with little or no reference to language or structure.
- Extremely limited or missing references.
- Very little focus on the writer's craft; minimal or incorrect use of terminology.

### Model Comparative Analysis Outline

#### 1. Comparison of Themes and Perspectives
* **Negative School Experiences**: Both writers describe the alienating nature of a traditional school system that failed to accommodate neurodivergence. Zephaniah highlights being labeled as 'stupid' and the overt prejudice of teachers ('"Shut up, Hodgkins," I’d say, and she’d say, "You can’t even spell Hodgkins"'). Text One depicts a similar sense of frustration, with teachers labeling the author as 'lazy' or 'disruptive' due to an inability to sit still.
* **Turning Points**: Both find a crucial outlet that redefined their self-worth. Zephaniah realized his gift for oral poetry and storytelling, bypassing written text initially. The author of Text One discovered physical model-making and design, finding that hands-on building transformed their hyperactivity into focused creative energy.
* **Empowerment and Pride**: Both texts culminate in a celebratory, defiant stance. Zephaniah asserts that dyslexia is a 'creative' advantage ('We are the architects. We are the designers'). Text One similarly reframes ADHD not as a deficit, but as a superpower of hyper-focus and lateral thinking.

#### 2. Comparison of Language and Style
* **Tone**: Zephaniah uses a warm, highly conversational, and direct tone ('If you’re a dyslexic...'). Text One uses a more reflective, metaphorical tone to describe the cognitive experience ('my mind was a hurricane of loose papers, until I picked up a tool').
* **Structure**: Zephaniah employs a chronological narrative that transitions into direct advice and rhetorical questions aimed at the reader. Text One mirrors this journey from childhood struggle to adult success, but relies more heavily on sensory imagery (describing the texture of wood, the hum of machinery) to contrast with the sterile classroom environment.
* **Use of Rhetorical Devices**: Zephaniah uses parallel structures and inclusive pronouns ('us', 'we') to build solidarity. Text One uses active verbs and dynamic syntax to reflect the high-energy nature of living with ADHD.

### Mark Scheme (AO3: Compare writers' ideas and perspectives, including how these are conveyed, through two texts)

| Level | Marks | Descriptor |
|---|---|---|
| **Level 5** | **19–22** | • Perceptive and analytical comparison of ideas and perspectives.
• Sophisticated synthesis of information across both texts.
• Discriminating selection of relevant textual references.
• Perceptive analysis of how writers use language and structure to achieve their effects. |
| **Level 4** | **15–18** | • Clear and consistent comparison of ideas and perspectives.
• Secure synthesis of information across both texts.
• Appropriate selection of relevant textual references to support comparison.
• Clear explanation of how writers use language and structure to convey their messages. |
| **Level 3** | **10–14** | • Moderate explanation of ideas and perspectives, with some comparison.
• Competent synthesis of some key points.
• Use of generally relevant textual references.
• Some identification/comment on the writers' use of language and structure. |
| **Level 2** | **5–9** | • Straightforward identification of basic ideas, with limited comparison.
• Basic connection between the texts.
• Selection of obvious or repetitive references.
• Limited or superficial comment on language and structure. |
| **Level 1** | **1–4** | • Minimal comparison of ideas and perspectives.
• Very little or no synthesis.
• Struggle to provide relevant textual support.
• Minimal or no comment on language and structure. |

To achieve high marks, candidates should demonstrate clear organization and sophisticated technical skills: 1. Form and Structure: The response must take the form of a speech. It should begin with a welcoming address to the audience, transition through a logical sequence of ideas (e.g., defining challenges, sharing personal/universal experiences of resilience, highlighting the value of unique minds), and end with a memorable concluding thought or call to action. 2. Tone and Register: The tone should be engaging, empathetic, and motivational. Candidates might draw thematic inspiration from texts like Benjamin Zephaniah's 'Young and dyslexic? You've got it going on', focusing on creativity, divergence, and resilience. 3. Language Techniques: Use rhetorical questions, rule of three, emotive language, and direct address ('we', 'you') to connect with the audience. 4. Technical Accuracy: Use varied sentence structures, precise vocabulary, and accurate punctuation to create rhythm and emphasis.

Assessment is split into two assessment objectives: AO5 (Communication and Organisation - 27 marks) and AO4 (Vocabulary, Sentence Structure, Spelling and Punctuation - 18 marks). AO5 Level 5 (22-27 marks): Communication is perceptive and subtly adjusted to audience and purpose. Form is highly appropriate and cohesive. Sophisticated control of register and structure. AO5 Level 4 (17-21 marks): Communication is purposeful and secure. Form is clear and consistent. Success in matching tone to audience and purpose. AO5 Level 3 (12-16 marks): Communication is clear. Form is generally appropriate. Some attempt to match tone to purpose and audience. AO5 Level 2 (6-11 marks): Communication has some clarity. Form may be inconsistent. Limited awareness of audience. AO5 Level 1 (1-5 marks): Communication is basic. Minimal control of form and audience. AO4 Level 5 (15-18 marks): Wide range of sophisticated vocabulary used accurately. Varied and effective sentence structures. Spelling, punctuation, and grammar are highly accurate. AO4 Level 4 (11-14 marks): Varied vocabulary and secure sentence structures. High accuracy in spelling, punctuation, and grammar with minor errors. AO4 Level 3 (7-10 marks): Appropriate vocabulary and sentence variety. Spelling, punctuation, and grammar are generally accurate. AO4 Level 2 (4-6 marks): Basic vocabulary and simple sentence structures. Some errors in spelling, punctuation, and grammar. AO4 Level 1 (1-3 marks): Limited vocabulary and sentence control. Frequent errors in spelling, punctuation, and grammar.

### Key Areas of Analysis

#### 1. The Contrast in Physical Health and Vitality
* **Present:** The poem opens in a cold, bleak setting where the soldier is passive, helpless, and dependent. He sits in a wheelchair ("waiting for dark"), dressed in a "ghastly suit of grey" that symbolizes his half-alive state, stripped of color and energy. His physical loss is starkly detailed: "legless, sewn short at elbow."
* **Past:** In contrast, his past is associated with physical action, strength, and youth. He recalls when "town used to swing so gay" and his knees were "young and strong." The contrast between his past physical wholeness and his current fragmented body emphasizes the tragedy of his sacrifice.

#### 2. The Contrast in Social and Romantic Relationships
* **Past:** Before his injury, the soldier was highly attractive to women and central to the community's youth culture. Girls "glanced lovelier" in the old warm days, and he was proud of his physical appeal ("he liked a girl"). His enlistment was partly motivated by the desire to impress them ("To please the giddy jilts").
* **Present:** Now, he is socially isolated and physically avoided. The "women's eyes / Passed from him to the strong men that were whole," highlighting his emasculation and rejection. He is treated with pity rather than desire or admiration, viewed almost as an unnatural object: "touch him like some queer disease."

#### 3. Pre-war Glory and Adulation vs. Post-war Neglect
* **Past:** He remembers the triumphant, carnivalesque atmosphere of his football days, being "carried shoulder-high" after scoring a goal. When he joined the army, he received "megaphoned cheers" and felt a sense of pride in the ceremonial aspect of war (the "smart salutes," the "esprit de corps").
* **Present:** Upon his return, there is no grand celebration. His sacrifice is met with apathy. Only a "solemn man who brought him fruits" visits him, offering superficial gratitude. He has transitioned from a celebrated hero to an institutionalized burden who "will spend a few sick years in institutes."

#### 4. Structure and Language Devices
* **Temporal Shifts:** Owen structured the poem to continuously shift back and forth between past memories and present reality. This structural juxtaposition sharpens the sense of tragedy, as each memory of joy is immediately undercut by a harsh return to his current misery.
* **Color Contrast:** Bright, warm colors associated with life and blood in his past ("glow-lamps," "purple," "warmth") contrast sharply with the cold, lifeless colors of his present ("grey," "dark," "cold").
* **Diction & Tone:** The transition from active verbs in the past descriptions to passive constructions in the present reflects his loss of agency. The ending lines, with their desperate repetition ("Why don't they come?"), highlight his utter dependence on others and his crushing psychological abandonment.

### Assessment Objectives
* **AO1:** Demonstrate a close and perceptive understanding of the text, maintaining a focused and analytical discussion.
* **AO2:** Analyse how the writer uses linguistic and structural devices to achieve specific effects.

### Grade Descriptors

* **Level 1 (1–6 marks): Simple/Minimal Response**
* Identifies basic points about the soldier's situation but with limited focus.
* Offers minimal, generalized comments on language/structure.
* Little or no textual support.

* **Level 2 (7–12 marks): Broad/Familiar Response**
* Shows a straightforward understanding of the contrast between past and present.
* Identifies some basic devices (e.g., imagery of youth vs. old age) but comments are superficial.
* Includes some relevant quotes, though they may not be fully integrated.

* **Level 3 (13–18 marks): Clear/Relevant Response**
* Demonstrates a clear understanding of Owen's depiction of the soldier's physical and psychological state.
* Explains how specific linguistic choices and structural shifts emphasize the contrast.
* Uses a selection of relevant textual references to support points.

* **Level 4 (19–24 marks): Thorough/Detailed Response**
* Offers a sustained and analytical exploration of the contrast between pre-war glory and post-war isolation.
* Provides detailed analysis of Owen's use of language (such as color imagery and active/passive verbs) and temporal structural shifts.
* Quotes are well-chosen and integrated naturally to support critical points.

* **Level 5 (25–30 marks): Perceptive/Evaluative Response**
* Presents a sophisticated, cohesive evaluation of the poem's themes of loss, propaganda, and societal neglect.
* Perceptive, precise analysis of how Owen's poetic craftsmanship (metre, stanza structure, juxtaposition) creates emotional resonance.
* Highly selective and persuasive use of textual evidence to support an insightful argument.

An excellent response will seamlessly integrate the opening prompt and establish a compelling narrative arc (exposition, rising action, climax, resolution). It should maintain a consistent tense and perspective (e.g., first-person or third-person limited) and use figurative language, sensory descriptions, and varied sentence lengths to build tension and mood. For example, a student might write a suspenseful mystery about a hidden family secret, or a fantasy tale about a portal to another world, utilizing sophisticated vocabulary and impeccable technical accuracy.

Total Marks: 30. This question is assessed against AO4 (18 marks) and AO5 (12 marks). AO4 (Communication and Effectiveness): Level 5 (15-18 marks): Communication is perceptive and subtle. Task is sharply focused on form, audience, and purpose. Narrative is cohesive, sophisticated, and engagingly structured. Level 4 (11-14 marks): Communication is effective and clear. Secure realisations of purpose and audience. Cohesive structure with successful plot progression. Level 3 (7-10 marks): Communication is clear with some successful moments. Sound awareness of audience and purpose. Straightforward structure. Level 2 (4-6 marks): Communication has some clarity. Basic awareness of audience/purpose. Narrative may be repetitive or disorganized. Level 1 (1-3 marks): Communication is brief or undeveloped. Little or no structure. AO5 (Technical Accuracy): Level 5 (10-12 marks): Wide range of sophisticated vocabulary and varied sentence structures used for deliberate effect. High level of accuracy in spelling, punctuation, and grammar. Level 4 (7-9 marks): Vocabulary is diverse and sentence structures are varied. Spelling, punctuation, and grammar are highly accurate with minor slips. Level 3 (4-6 marks): Appropriate vocabulary and some variety in sentence structures. General control of spelling, punctuation, and grammar, though errors occur. Level 2 (2-3 marks): Simple vocabulary and repetitive sentence structures. Frequent errors in spelling, punctuation, and grammar that sometimes hinder meaning. Level 1 (1 mark): Very limited vocabulary and sentence variety. Severe errors in spelling, punctuation, and grammar throughout.